Instagram, what hath thou wrought?
Ridiculously handsome and charming Aussie Hugh Jackman has been sharing carefully curated snaps of his life with the world through this photo-sharing app, and the latest is just, well, you should probably just see it for yourself. While lots of people use Instagram to try and project what Oprah would call "our best life," Jackman is using it to give us a sneak peek at his rather unfortunate 'do for Neill Blomkamp's upcoming movie "Chappie." Filming has just kicked off in Johannesburg.
Jackman's co-stars in the sci-fi comedy include Sigourney Weaver, Dev Patel, the voice of Sharlto Copley as Chappie, and the wonderfully weird Yo-Landi Vi$$er and Ninja of the South African rap rave "zef" crew Die Antwoord. (Check out a pic of Yo-Landi on set here.)
It's fun to try and guess who will be playing whom in this description from the...
Ridiculously handsome and charming Aussie Hugh Jackman has been sharing carefully curated snaps of his life with the world through this photo-sharing app, and the latest is just, well, you should probably just see it for yourself. While lots of people use Instagram to try and project what Oprah would call "our best life," Jackman is using it to give us a sneak peek at his rather unfortunate 'do for Neill Blomkamp's upcoming movie "Chappie." Filming has just kicked off in Johannesburg.
Jackman's co-stars in the sci-fi comedy include Sigourney Weaver, Dev Patel, the voice of Sharlto Copley as Chappie, and the wonderfully weird Yo-Landi Vi$$er and Ninja of the South African rap rave "zef" crew Die Antwoord. (Check out a pic of Yo-Landi on set here.)
It's fun to try and guess who will be playing whom in this description from the...
- 1/7/2014
- by Jenni Miller
- Moviefone
Going into ""The Pickett Line," I wasn't sure whether or not Cochise should be trusted... let along assisted in the completion of the Volm machine. The construction was kept a secret and, even more worrisome, it's purpose and potential were unknown.
As annoying as Mariana has been, she went behind Tom's back and investigated the Volm device for a noble reason. She was and is concerned for the well-being of the Charleston residents and the entire United States. However, her methods and fundamental desire for order and control undermines her ability to lead.
Tom has proven time and time again that he's a level-headed leader and trustworthy. For that reason, I've given him the benefit of the doubt this season regarding the Volm and the device. He's generally good about determining whether or not to trust someone.
Though, he overestimated that ability when he let the cabin owner see his brother.
As annoying as Mariana has been, she went behind Tom's back and investigated the Volm device for a noble reason. She was and is concerned for the well-being of the Charleston residents and the entire United States. However, her methods and fundamental desire for order and control undermines her ability to lead.
Tom has proven time and time again that he's a level-headed leader and trustworthy. For that reason, I've given him the benefit of the doubt this season regarding the Volm and the device. He's generally good about determining whether or not to trust someone.
Though, he overestimated that ability when he let the cabin owner see his brother.
- 7/15/2013
- by carla@tvfanatic.com (Carla Day)
- TVfanatic
Getty Poet Yusef Komunyakaa
The 20 finalists for the 2011 National Book Awards were announced Wednesday. The National Book Foundation later added one more finalist to the Young People’s Literature category. The finalists are:
Fiction: Andrew Krivak (“The Sojourn”), Tea Obreht (“The Tiger’s Wife”), Julie Otsuka (“The Buddha in the Attic”), Edith Pearlman (“Binocular Vision: New & Selected Stories”), Jesmyn Ward (“Salvage the Bones”).
Nonfiction: Deborah Baker (“The Convert: A Tale of Exile and Extremism”), Mary Gabriel (“Love and Capital: Karl...
The 20 finalists for the 2011 National Book Awards were announced Wednesday. The National Book Foundation later added one more finalist to the Young People’s Literature category. The finalists are:
Fiction: Andrew Krivak (“The Sojourn”), Tea Obreht (“The Tiger’s Wife”), Julie Otsuka (“The Buddha in the Attic”), Edith Pearlman (“Binocular Vision: New & Selected Stories”), Jesmyn Ward (“Salvage the Bones”).
Nonfiction: Deborah Baker (“The Convert: A Tale of Exile and Extremism”), Mary Gabriel (“Love and Capital: Karl...
- 10/12/2011
- by Barbara Chai
- Speakeasy/Wall Street Journal
It’s really starting to look like the rampaging Hollywood parade of “hip” vampire films is never going to end, and now the queen of the “hip” film comedy, Amy Heckerling is throwing her trendy, stylish hat in the ring with Vamps. The movie’s plot reads like Sex and the City with fangs and (more) bloodsucking, and it seems now that actress Sigourney Weaver will be stepping in to lend her credibility and bankability to the Alicia Silverstone-starring comedy.
Weaver definitely has the acting chops necessary to bring something emotional and wise to the proceedings. She will reportedly be portraying Ciccerus, the mother of two hobnobbing vampire socialites, one of whom will be played by Silverstone. The story goes that the two young vamps will fall in love and be faced with the familiar choice between their human lovers and their vampire immortality. Sound like all the other undead melodramas?...
Weaver definitely has the acting chops necessary to bring something emotional and wise to the proceedings. She will reportedly be portraying Ciccerus, the mother of two hobnobbing vampire socialites, one of whom will be played by Silverstone. The story goes that the two young vamps will fall in love and be faced with the familiar choice between their human lovers and their vampire immortality. Sound like all the other undead melodramas?...
- 3/17/2010
- by Brett Fieldcamp
- Atomic Popcorn
Sweet Land
Demonstrating a mastery of the medium that belies his status as a first-time feature filmmaker, writer-director Ali Selim has crafted in "Sweet Land" a tale of pure Americana that speaks both to the immigrant experience and the nature of love. The film has played the festival circuit, where it understandably won two audience awards. It opens Oct. 13 in Minneapolis and St. Paul, Minn., and five days later in New York, followed by a national rollout.
Taking off from a short story by Minnesota writer Will Weaver, Selim tells the simple but emotion-packed story of a mail-order bride who arrives in a close-knit Norwegian farming community in Minnesota after World War I. There is only one problem. One major problem. Inge Altenberg (Elizabeth Reaser) is Germ. Nothing could be more of an anathema to these hardworking, jingoistic farmers than a young woman from the country the U.S. fought so bitterly a couple of years earlier.
The minister (John Heard) refuses to marry Inge to Olaf (Tim Guinee). A law clerk shakes his head over missing paperwork. In the meanwhile, Inge settles into the community, making friends and perhaps an enemy in the minister, then finds the time to size up her husband-to-be, allowing the two to fall deeply in love.
The story is set up with a triple time frame. In the opening scene, an elderly Inge (played by the marvelous Lois Smith) passes on, leaving her grandson to face a decision about selling the family homestead to a developer. He in turn remembers back to Olaf's passing in the late '60s, when his grandmother recounted to him her first days in her new country.
What a sight she makes when she arrives at the train station! She carries two suitcases and, improbably, a huge gramophone. Nevertheless, this family heirloom makes her the bringer of music to this community cut off from so much art and culture.
Reaser, who played a vastly different role as the commitment-phobic woman in "Puccini for Beginners" at Sundance this year, breathes fire into this character. She speaks little English -- she holds two fingers close together to indicate how little it really is -- but can read faces and body language with supreme literacy. She occasionally bursts forth with angry, sputtering German, which Selim wisely doesn't bother to subtitle. We more than get her point.
Guinee, in a pitch-perfect Norwegian-American accent, gives this farm boy a backbone of decency and morality without anything feeling forced or phony. His character is a man of few words, but Guinee plays the subtext to perfection.
Alan Cumming (who also produces) is wonderfully cast as Olaf's best pal Frandsen, a loving father and husband who is almost childlike in his embrace of life. Unfortunately, Frandsen has fallen hopelessly behind in his mortgage payments. His banker (Ned Beatty) can't wait to foreclose, not at all put off by the fact that Frandsen is his third cousin.
Selim and cinematographer David Tumblety create one memorable composition after another, often framing the actors tightly so we might read their expressions, then pulling back for long shots of the flat landscape and the one farmhouse that dominates the fields. Mark Orton's music and James R. Bakkom's design feel authentically period with nary a false step.
Taking off from a short story by Minnesota writer Will Weaver, Selim tells the simple but emotion-packed story of a mail-order bride who arrives in a close-knit Norwegian farming community in Minnesota after World War I. There is only one problem. One major problem. Inge Altenberg (Elizabeth Reaser) is Germ. Nothing could be more of an anathema to these hardworking, jingoistic farmers than a young woman from the country the U.S. fought so bitterly a couple of years earlier.
The minister (John Heard) refuses to marry Inge to Olaf (Tim Guinee). A law clerk shakes his head over missing paperwork. In the meanwhile, Inge settles into the community, making friends and perhaps an enemy in the minister, then finds the time to size up her husband-to-be, allowing the two to fall deeply in love.
The story is set up with a triple time frame. In the opening scene, an elderly Inge (played by the marvelous Lois Smith) passes on, leaving her grandson to face a decision about selling the family homestead to a developer. He in turn remembers back to Olaf's passing in the late '60s, when his grandmother recounted to him her first days in her new country.
What a sight she makes when she arrives at the train station! She carries two suitcases and, improbably, a huge gramophone. Nevertheless, this family heirloom makes her the bringer of music to this community cut off from so much art and culture.
Reaser, who played a vastly different role as the commitment-phobic woman in "Puccini for Beginners" at Sundance this year, breathes fire into this character. She speaks little English -- she holds two fingers close together to indicate how little it really is -- but can read faces and body language with supreme literacy. She occasionally bursts forth with angry, sputtering German, which Selim wisely doesn't bother to subtitle. We more than get her point.
Guinee, in a pitch-perfect Norwegian-American accent, gives this farm boy a backbone of decency and morality without anything feeling forced or phony. His character is a man of few words, but Guinee plays the subtext to perfection.
Alan Cumming (who also produces) is wonderfully cast as Olaf's best pal Frandsen, a loving father and husband who is almost childlike in his embrace of life. Unfortunately, Frandsen has fallen hopelessly behind in his mortgage payments. His banker (Ned Beatty) can't wait to foreclose, not at all put off by the fact that Frandsen is his third cousin.
Selim and cinematographer David Tumblety create one memorable composition after another, often framing the actors tightly so we might read their expressions, then pulling back for long shots of the flat landscape and the one farmhouse that dominates the fields. Mark Orton's music and James R. Bakkom's design feel authentically period with nary a false step.
- 10/19/2006
- The Hollywood Reporter - Movie News
Sweet Land
Demonstrating a mastery of the medium that belies his status as a first-time feature filmmaker, writer-director Ali Selim has crafted in Sweet Land a tale of pure Americana that speaks both to the immigrant experience and the nature of love. The film has played the festival circuit, where it understandably won two audience awards. It opens Oct. 13 in Minneapolis and St. Paul, Minn., and five days later in New York, followed by a national rollout.
Taking off from a short story by Minnesota writer Will Weaver, Selim tells the simple but emotion-packed story of a mail-order bride who arrives in a close-knit Norwegian farming community in Minnesota after World War I. There is only one problem. One major problem. Inge Altenberg (Elizabeth Reaser) is German. Nothing could be more of an anathema to these hardworking, jingoistic farmers than a young woman from the country the U.S. fought so bitterly a couple of years earlier.
The minister (John Heard) refuses to marry Inge to Olaf (Tim Guinee). A law clerk shakes his head over missing paperwork. In the meanwhile, Inge settles into the community, making friends and perhaps an enemy in the minister, then finds the time to size up her husband-to-be, allowing the two to fall deeply in love.
The story is set up with a triple time frame. In the opening scene, an elderly Inge (played by the marvelous Lois Smith) passes on, leaving her grandson to face a decision about selling the family homestead to a developer. He in turn remembers back to Olaf's passing in the late '60s, when his grandmother recounted to him her first days in her new country.
What a sight she makes when she arrives at the train station! She carries two suitcases and, improbably, a huge gramophone. Nevertheless, this family heirloom makes her the bringer of music to this community cut off from so much art and culture.
Reaser, who played a vastly different role as the commitment-phobic woman in Puccini for Beginners at Sundance this year, breathes fire into this character. She speaks little English -- she holds two fingers close together to indicate how little it really is -- but can read faces and body language with supreme literacy. She occasionally bursts forth with angry, sputtering German, which Selim wisely doesn't bother to subtitle. We more than get her point.
Guinee, in a pitch-perfect Norwegian-American accent, gives this farm boy a backbone of decency and morality without anything feeling forced or phony. His character is a man of few words, but Guinee plays the subtext to perfection.
Alan Cumming (who also produces) is wonderfully cast as Olaf's best pal Frandsen, a loving father and husband who is almost childlike in his embrace of life. Unfortunately, Frandsen has fallen hopelessly behind in his mortgage payments. His banker (Ned Beatty) can't wait to foreclose, not at all put off by the fact that Frandsen is his third cousin.
Selim and cinematographer David Tumblety create one memorable composition after another, often framing the actors tightly so we might read their expressions, then pulling back for long shots of the flat landscape and the one farmhouse that dominates the fields. Mark Orton's music and James R. Bakkom's design feel authentically period with nary a false step.
SWEET LAND
Libero
A LaSalle Holland production in association with Beautiful Motion Pictures/Liebenmania/Channel Z Films
Credits:
Screenwriter-director: Ali Selim
Based on a short story by: Will Weaver
Producers: Jim Bigham, Alan Cumming, Ali Selim
Executive producers: Gill Holland, Lillian LaSalle, Thomas F. Lieberman, Terrance Moore, Edward J. Driscoll, Gary S. Kohler, Stephen Hays
Director of photography: David Tumblety
Production designer: James R. Bakkom
Music: Mark Orton
Co-producers: Robin Selim, Gil Bellows, Thomas Pope, David Dancyger
Costumes: Eden Miller
Editor: James Stanger
Cast:
Inge Altenberg: Elizabeth Reaser
Olaf: Tim Guinee
Frandsen: Alan Cumming
Old Inge: Lois Smith
Harmo: Ned Beatty
Brownie: Alex Kingston
Lars: Patrick Heusinger
Minister: John Heard
Running time -- 110 minutes
No MPAA rating...
Taking off from a short story by Minnesota writer Will Weaver, Selim tells the simple but emotion-packed story of a mail-order bride who arrives in a close-knit Norwegian farming community in Minnesota after World War I. There is only one problem. One major problem. Inge Altenberg (Elizabeth Reaser) is German. Nothing could be more of an anathema to these hardworking, jingoistic farmers than a young woman from the country the U.S. fought so bitterly a couple of years earlier.
The minister (John Heard) refuses to marry Inge to Olaf (Tim Guinee). A law clerk shakes his head over missing paperwork. In the meanwhile, Inge settles into the community, making friends and perhaps an enemy in the minister, then finds the time to size up her husband-to-be, allowing the two to fall deeply in love.
The story is set up with a triple time frame. In the opening scene, an elderly Inge (played by the marvelous Lois Smith) passes on, leaving her grandson to face a decision about selling the family homestead to a developer. He in turn remembers back to Olaf's passing in the late '60s, when his grandmother recounted to him her first days in her new country.
What a sight she makes when she arrives at the train station! She carries two suitcases and, improbably, a huge gramophone. Nevertheless, this family heirloom makes her the bringer of music to this community cut off from so much art and culture.
Reaser, who played a vastly different role as the commitment-phobic woman in Puccini for Beginners at Sundance this year, breathes fire into this character. She speaks little English -- she holds two fingers close together to indicate how little it really is -- but can read faces and body language with supreme literacy. She occasionally bursts forth with angry, sputtering German, which Selim wisely doesn't bother to subtitle. We more than get her point.
Guinee, in a pitch-perfect Norwegian-American accent, gives this farm boy a backbone of decency and morality without anything feeling forced or phony. His character is a man of few words, but Guinee plays the subtext to perfection.
Alan Cumming (who also produces) is wonderfully cast as Olaf's best pal Frandsen, a loving father and husband who is almost childlike in his embrace of life. Unfortunately, Frandsen has fallen hopelessly behind in his mortgage payments. His banker (Ned Beatty) can't wait to foreclose, not at all put off by the fact that Frandsen is his third cousin.
Selim and cinematographer David Tumblety create one memorable composition after another, often framing the actors tightly so we might read their expressions, then pulling back for long shots of the flat landscape and the one farmhouse that dominates the fields. Mark Orton's music and James R. Bakkom's design feel authentically period with nary a false step.
SWEET LAND
Libero
A LaSalle Holland production in association with Beautiful Motion Pictures/Liebenmania/Channel Z Films
Credits:
Screenwriter-director: Ali Selim
Based on a short story by: Will Weaver
Producers: Jim Bigham, Alan Cumming, Ali Selim
Executive producers: Gill Holland, Lillian LaSalle, Thomas F. Lieberman, Terrance Moore, Edward J. Driscoll, Gary S. Kohler, Stephen Hays
Director of photography: David Tumblety
Production designer: James R. Bakkom
Music: Mark Orton
Co-producers: Robin Selim, Gil Bellows, Thomas Pope, David Dancyger
Costumes: Eden Miller
Editor: James Stanger
Cast:
Inge Altenberg: Elizabeth Reaser
Olaf: Tim Guinee
Frandsen: Alan Cumming
Old Inge: Lois Smith
Harmo: Ned Beatty
Brownie: Alex Kingston
Lars: Patrick Heusinger
Minister: John Heard
Running time -- 110 minutes
No MPAA rating...
- 10/12/2006
- The Hollywood Reporter - Movie News
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